Annie and the Dweller on the Threshold
by Sophia Carlton-Browne
Summary: After the season two finale, Annie realises that the evil Dale Cooper has replaced the good one. She tries to stop him, by luring him to the circle of trees and bringing back the good Dale. Leo Johnson is found. The Bank explosion is investigated.


Twin Peaks:  
Annie and the Dweller on the Threshold

(A Conclusion to the Story)

Scene 1: Great Northern. The en suite bathroom just off Cooper's hotel room. Day.

Cooper's forehead is bleeding. Truman breaks down the door.

COOPER: I slipped and hit my head on the mirror, Harry.  
TRUMAN: Come on. Let's get ya back to bed.

Truman helps Cooper over to the bed.

DOC HAYWARD: Let me get a bandage for that.

He opens his medical bag and takes out a bandage, scissors, etc.

COOPER: It struck me as funny, Harry...

Cooper sits on the edge of the bed, while Doc Hayward puts a bandage around his forehead. Truman is bewildered by his friend's unusual behavior.

Scene 2: The Hospital. Day. Annie is lying in bed, in a side ward. Doc Hayward and Norma Jennings are there.

DOC HAYWARD: She's sleeping. Pulse rate and blood pressure are normal. Everything checks out OK.  
NORMA: She's not in a coma?  
DOC HAYWARD: No. She's just worn out and needs to rest.

Annie stirs from sleep. Her eyes open. She sits up in bed.

ANNIE: Where am I?  
NORMA: At the hospital. I brought some of your clothes.  
ANNIE: What happened to Dale?  
DOC HAYWARD: He's at the Great Northern, recovering.  
ANNIE: Something's wrong. It's not the real Dale Cooper. I need to tell the Sheriff. she starts to get out of bed  
NORMA: Are you feeling alright? Don't you think you should take it easy?  
ANNIE: I've got to tell him before it's too late! We don't have much time!  
DOC HAYWARD: Annie, I think you should rest. You've been through a hell of a lot.  
ANNIE: We've got to stop the evil Dale Cooper!

She hurriedly gets dressed. Norma and Doc Hayward look at each other. They have no idea what she is talking about.

Scene 3: The Blue Pine Lodge (Catherine Martell's house). Day. About 9 AM. Catherine is sipping a cup of coffee and watching TV, which is showing a news report about the explosion at the Bank.

On the TV screen: A reporter stands in front of the Bank, the windows of which are shattered. There is tape fencing off the area surrounding the Bank, saying: Police Line - Do Not Cross.

REPORTER: Yesterday, an explosion occurred at the Twin Peaks Savings and Loan. Four people were killed and two were seriously injured. Local police have requested anyone whose friends or relatives might have been in or near the Bank, at the time of the explosion, to come forward.

Catherine stares into the mid-distance thoughtfully, weighing up her options.

Scene 4: Ben Horne's office. Day. Ben, Sylvia and Jerry. Ben has a bandage around his head but is otherwise unharmed.

BEN: Sylvia, darling, I've been thinking over the events of the last few days.  
SYLVIA: Well, I should hope so!  
BEN: My resolution to do good and tell the truth has brought nothing but unhappiness to the Haywards.  
SYLVIA: I can't understand why you wanted to dig up the secrets of the past!  
BEN: I thought that to tell the most difficult truth first would be the first step on a journey leading to genuine goodness and purity... but now I realise my foolish mistake.  
SYLVIA: Yes, now that it's too late! You should leave the Haywards alone! Stop interfering!  
BEN: Yes, Sylvia, I can see the wisdom in your advice. I will do... as you say.

Enter JERRY, in a state of panic.

JERRY: Ben... Sylvia.  
BEN: What's wrong?  
JERRY: There's been an explosion at the Bank!  
BEN: Audrey!  
SYLVIA: Oh my God! she starts to weep  
JERRY: She's dead!  
BEN: My beloved Audrey. I feel so guilty. If I hadn't sent her to the Bank, she'd still be alive.  
SYLVIA: What were you thinking!  
BEN: This is terrible! What am I gonna do?  
JERRY: Ben, don't blame yourself. This is... a freak accident.

Scene 5: The Haywards' house. The living room. Day. Donna, Dr Hayward and Eileen Hayward are there.

DONNA: Mom... Dad... I know the truth.  
DOC HAYWARD: warning her Donna.  
DONNA: Please let me finish. – I know that Benjamin Horne is my biological father. You can't hide that from me anymore. But I've decided not to leave home, after all. Ben Horne may be my biological father, but you raised me, Dad. And you too, Mom.  
DOC HAYWARD: Donna, I'm so glad you've come back to us.

Donna and Doc Hayward embrace.

DONNA: And I really love you for it, Dad... and you, Mom.  
EILEEN: We love you too, honey.

Scene 6: The Sheriff's Department. Day. Truman and Major Briggs are in the meeting/conference room, next to the blackboard.

Enter LUCY.

LUCY: Sheriff Truman, yesterday, while you were in the woods, there was a huge explosion at the Bank. Catherine Martell phoned and said Pete had gone missing. She thinks he might have been at the bank when the explosion happened.  
TRUMAN: Thanks, Lucy. Seems like a lot's been happening.  
LUCY: Deputy Hawk and Deputy Brennan have been investigating.  
TRUMAN: Well, later on today, ask them to bring me up to date.

Exit LUCY.

BRIGGS: Sheriff, I have received a message from Windom Earle, chilling in its implications. He says he is in the Black Lodge with Cooper.  
TRUMAN: But I saw Cooper and Annie appear again in the circle of trees.  
BRIGGS: The situation is very mysterious. I think Earle is trying to trick me. His intention is to lure me into the Black Lodge. Clearly, we cannot trust anything he tells us.  
TRUMAN: I think you're right, Major. We don't want to risk your life, losing you to that other-worldly place, perhaps forever.  
BRIGGS: I do not intend to enter the Black Lodge. However, Cooper may be trapped there. We should do something to rectify this.  
TRUMAN: When he woke up at the hotel this morning, Coop was in a very weird mood. Not his usual self at all. He tried to smash his head on the bathroom mirror. I got a deputy standing guard, in case he tries anything else.

There is a knock on the door. Annie Blackburn enters.

ANNIE: Sheriff Truman, I need to speak to you. Urgently.  
TRUMAN: Are you feeling OK?  
ANNIE: I'm feeling a lot better now, thanks. I need to tell you what happened... I was taken by Windom Earle to a circle of sycamores. We passed into a room with zigzag tiles and red curtains. I thought Earle was going to kill me. The good Dale Cooper followed us, to try and rescue me. Earle was defeated. Then a Doppelganger appeared, the evil opposite of Dale. There was a chase and the evil Dale passed through the red curtains. Suddenly, I was lying in the circle of trees, next to the evil Dale.  
BRIGGS: And meanwhile, the good Dale is still in the Black Lodge with Windom Earle.  
ANNIE: Yes... Only, Earle was defeated. His soul was pulled out of his head. It looked like a huge flame. Earle is powerless now.  
TRUMAN: But that explains why Coop has been acting so strange! It isn't Coop at all! It's the Doppelganger!  
ANNIE: We have to rescue the good Dale. And I am the one who must rescue him, because... I love him.  
TRUMAN: Coop said that love and fear open the doors to the Lodges.  
BRIGGS: Miss Blackburn, I applaud your courage. But when you are in the Lodge... take great care. You will be in the presence of a tremendous evil. Much is at stake.

Scene 7: Ed and Nadine Hurley's house. Day. Dr Jacoby, Ed and Nadine.

Dr Jacoby is having a quiet word with Ed, while Nadine sits on the sofa, on the other side of the room.

JACOBY: This is a classic case of double personality. When Nadine woke from her coma, she has developed amnesia of her true identity and replaced it with an alternate one: the identity of a high school girl. When Nadine was hit on the head, she forgot her alternate identity and suddenly remembered who she really was. She also forgot everything that happened to her since she woke from the coma.  
ED: Doc, I'm really at a loss this time. What's the best way to deal with this?  
JACOBY: She needs to be treated gently. It's very important not to upset her. It's good for her to spend time in her home environment, with familiar stimuli, until she feels stronger.  
ED: Well, I'll do the best I can to look after her.  
JACOBY: whispers Make sure she doesn't come into contact with Norma... or Mike, for that matter. That could push her over the edge.  
ED: whispers OK, Doc, but I don't know how Norma's gonna feel about this.

Jacoby goes over to Nadine.

JACOBY: Nadine, the night before last, you suffered a blow to the head... and you are probably feeling... disoriented.  
NADINE: Well, I'm glad that strange boy has left me alone. And she seems to have gone away, too. meaning Norma Strangers in the house! What are you trying to do to me, Ed? accusing him, paranoid  
ED: Nothing, honey. You know I'd never wanna upset you. Not in a million years.  
NADINE: Well, what's going on, then?  
JACOBY: Norma and the boy Mike were... visiting. They have gone away, and they won't be coming back. Everything is back to normal.

Nadine does not look convinced.

NADINE: Where are my drape runners? to Ed What have you done with them!  
ED: I put them in the loft, sweetheart... for safe-keeping. I can get them down if you want.  
NADINE: Oh, you'd better! Ed! You make me so angry!

Dissolve to: Norma with the drapes, repeatedly opening and closing them. She looks a bit happier. Ed is watching her from the other side of the room. He looks bewildered.

Scene 8: The Red Room. This scene is intended to confirm the idea that the real Dale Cooper is still trapped in the Red Room and cannot leave yet.

Cooper is in a red room with no furniture. He is lost and looking for an exit, back to Earth. He looks around, seeing if there is a secret exit. He fails to find one. He takes out the tape recorder and speaks into it.

COOPER: Diane, I don't know when this tape will reach you. I am in a strange room with red curtains on all sides, and there is no obvious exit. Perhaps this is the Black Lodge. It is my intention to escape, but I do not yet know how to do this.

He walks across the room, through the gap in the curtains. He is in a corridor with the Venus de Milo. He walks along the corridor, through the curtains into another empty room. He repeats this process three or four times, to no avail.

He tries walking all around the edge of the room, seeing if there is a gap in the curtains that he has not noticed before. There is no such gap. Frustrated, he stands in the middle of the room, wondering what to do, looking around in all directions.

He walks through the gap as before, down the corridor, and into another room. This time, it contains several armchairs, a table, a standing lamp and a white statue. Somewhat tired from his adventures, he sits down on one of the chairs. He waits.

Strobe lights flash and the Man From Another Place (MFAP) enters through the curtains. He sits down. All his lines are subtitled.

MFAP: Is it future? Or is it past? Do you know who I am?

Cooper shakes his head, meaning No.

MFAP: continued I am the Arm... and I sound like this...

The Man From Another Place puts his hand in front of his lips and makes the Native American whooping sound.

COOPER: Where is this place?  
MFAP: This is the waiting room.  
COOPER: How can I leave?  
MFAP: You cannot leave here alone. Someone must come for you.

Shot of Cooper's face, reflecting on this. He realises there is nothing he can do at this point. The only thing he can do is wait. Shot of the Red Room, showing Cooper and MFAP sitting, waiting.

Cut to:  
Scene 9: The Sheriff's Department. Day. Truman, Briggs, Hawk. Briggs is telling Truman about Windom Earle's cabin and Leo Johnson.

BRIGGS: In his log cabin, Windom Earle was holding Leo Johnson captive.  
TRUMAN: So Coop was right!  
BRIGGS: Earle prevented Mr Johnson's escape by electrocution. A collar had been placed around Mr Johnson's neck, which Earle operated by remote control.  
TRUMAN: Jeez Louise!  
HAWK: to Briggs Could you find Earle's cabin?  
BRIGGS: Yes... I believe I could.

Scene 10: Outside Earle's cabin. Briggs and Hawk arrive. Hawk has been following footprints on the ground and the forest floor. They go inside and are surprised to see the string mechanism with Leo Johnson at one end and the box of spiders at the other! Leo notices them and grunts to alert them and ask for help.

HAWK: carefully OK... Easy does it...

Hawk detaches the string from Leo's tooth, while Briggs takes down the box and puts it on a tabletop, out of the way.

HAWK: Leo Johnson, you are coming with us, to the Sheriff's Department. We want to know about the fire at the Mill.

Scene 11: The Sheriff's Dept. The downstairs cell. They have removed the electro-shock collar, and given Leo some clean clothes: prisoner's uniform, grey overalls. Leo's speech is incoherent, due to being shot, stabbed, electrocuted, etc. Truman and Hawk are there, asking questions.

TRUMAN: What can you tell us about Windom Earle?  
LEO: Tried... kill... Shelly... must... save... Shelly TRUMAN: Why did he want to do that?  
LEO: Queen... die... must... save... Queen.  
HAWK: Do you know about the fire at the Mill? The Mill?  
LEO: Mill... fire... Shelly... burning.  
TRUMAN: to Hawk We're not getting any sense out of him. He needs psychiatric help. Call Dr Jacoby. Tonight, Leo will have to sleep in a cell. We sure can't let him stay with Shelly.  
HAWK: He should be put in jail.  
TRUMAN: Or a psychiatric hospital, where they can keep him under control.

Scene 12: Cooper's room at the Great Northern Hotel. Day. The Anti-Cooper is in bed in his pajamas, with a bandage around his forehead. A Deputy stands guard, his gun ready.

ANTI-COOPER: I need to take some air and stretch my legs.  
DEPUTY: You can't go anywhere in this state. You're still in shock.  
ANTI-COOPER: Is Annie alright?  
DEPUTY: I've been told that she's feeling a lot better.

There is a knock at the door. The deputy answers. Annie is there.

ANNIE: to DEPUTY Is Agent Cooper awake yet? I'd like to speak to him.  
DEPUTY: quietly, so the anti-Cooper cannot hear He's awake but he's in a very weird mood. Something's not right.

ANNIE walks over to the bed.

ANNIE: Hi there, Dale!

The Anti-Cooper sits up on his elbows.

ANTI-COOPER: Annie! Good to see you! How are you?  
ANNIE: Feeling just great, honey. I've made a full recovery. Thanks for rescuing me from that creep Windom Earle! Jeez, what a darned sicko! Dale, you're my knight in an FBI suit of armour. She kisses him on the cheek  
ANTI-COOPER: Oh Annie, I'm so glad you're alive... and apparently unscathed.

The deputy has his arms crossed and is looking very serious, not at all convinced by the behaviour or sentiments of the Anti-Cooper.

ANNIE: Well, let's go someplace! How about the lake?  
ANTI-COOPER: Capital idea! We could go boating.  
ANNIE: My car's in the parking lot.  
ANTI-COOPER: Give me a few minutes to get dressed.

He turns away from Annie and the deputy. There is an evil look on his face, suggesting he intends to kill or harm Annie.

Scene 13: Annie's car. Annie is driving. She is wearing everyday clothes: jeans, blouse and jacket. The Anti-Cooper is in the passenger seat. He is dressed in Cooper's usual dark suit and tie. He is reckless and does not have the seatbelt on. They are listening to jazz (perhaps by Angelo Badalamenti) on the car radio.

ANNIE: sings Tra-la-la-la-la! What a lovely day!  
ANTI-COOPER: Yes. Nice weather. Y'know, Annie, we should go fishing some time. pause Wait a minute! This isn't the way to the lake!

Annie slams on the brakes. She takes a gun from inside her jacket, and points it at the Anti-Cooper.

ANTI-COOPER: What are you doing? We don't stop here!  
ANNIE: OK, Buster! Outta the car, now!

The Anti-Cooper checks for his gun. It's missing. The deputy must have taken it, earlier on. The Anti-Cooper does not want Cooper's body to die or be damaged just yet. He has no choice but to leave the car. Annie follows him out, still pointing the gun at him.

ANNIE: Hands on yer head!

The Anti-Cooper does as he is told. The car is parked near Glastonbury Grove. She motions the anti-Cooper into the circle of twelve sycamore trees. Then she enters the circle herself. The red curtains materialise. The anti-Cooper passes thru them. Then Annie.

Scene 14: The Red Room. Empty apart from 3 armchairs and other furniture.

Annie enters, through the south side. She no longer has the gun. She is wearing the black dress from the Miss Twin Peaks beauty pageant. On the north side of the room, a Cooper clone (it is impossible to say which one) is passing through the red curtains.

Annie crosses the room and is about to walk through the curtains. She looks back. The Cooper clone is on the south side of the room!

ANNIE: Dale?  
COOPER CLONE: subtitled I am the good Dale. Trust me.

She does not believe him. She walks through the curtains on the north side of the room. Now the Cooper clone is following her!

Scene 15: A Duplicate Red Room. 3 chairs, standing lamp, statue.

Annie enters. She sits in one of the chairs and waits. The Man From Another Place (MFAP) enters the room and sits down.

ANNIE: I have come for the good Dale Cooper.  
MFAP: subtitled He is waiting for you.  
ANNIE: Where is he?  
MFAP: subtitled You must find him.

Annie stands up and crosses the room. A corridor. She walks along it and through the curtains.

Another Red Room, this time empty. She walks into the centre and looks around. Suddenly, both her wrists are bleeding. This is a kind of flashback to her suicide attempt. There is a trail of blood, which she follows into a corridor. Along the corridor into:

Another Red Room. There is no furniture, but an Annie Doppelganger is lying on the floor, wrists bleeding, and apparently unconscious. The Annie Doppelganger opens her eyes, stands up and addresses the real Annie.

ANNIE DOPPELGANGER: subtitled I felt so sad when he left me. I did not want to live any more.  
ANNIE: When who left you?  
ANNIE DOPPELGANGER: subtitled The good Dale. He went into the Lodge and never returned.  
ANNIE: How can I find him?

Suddenly, the Annie Doppelganger is replaced by the Anti-Cooper.

ANTI-COOPER: subtitled I am the good Dale Cooper. Trust me.  
ANNIE: You're not him!

The Anti-Cooper fades away. (If Annie does not believe him, he has no power over her.) Annie looks at her wrists. They have completely healed, as if they had never been bleeding. The room is now empty. She walks out. Corridor. Along the corridor and through the curtains into:

Another Red Room. 3 chairs, standing lamps, statue.

The good Cooper is sitting in one chair, the MFAP in another. Annie walks over to Cooper and takes his hand.

COOPER: Annie?  
ANNIE: Dale, I have come to rescue you.

He stands up. She kisses him on the cheek. She leads him through the curtains and out of the Red Room to:

Scene 16: Glastonbury Grove. Early evening. Truman is waiting for them. The police vehicle and Annie's car are nearby.

Annie leads Cooper out of the circle of trees. The red curtains fade away, leaving only a spotlight, which also fades away. Annie is wearing everyday clothes and the gun is in her jacket pocket

COOPER: Harry, I'm back. It's the real me this time!  
TRUMAN: It's great to have you back, Coop!

Cooper and Truman shake hands.

COOPER: And my escape is entirely due to this wonderful person here.

He looks at Annie and smiles.

COOPER: She risked her very soul for me.  
ANNIE: It was worth the risk, Dale.

They hold hands and kiss.

ANNIE: Good always triumphs over evil in the end, as one of the sisters used to say.  
COOPER: OK, you guys, what-do-you-say we all go to the Diner for some o' that good old cherry pie!  
TRUMAN: Sounds like a good idea to me!  
ANNIE: Count me in!

Scene 17: Double R Diner. Early evening. Cooper, Truman and Annie are sitting in a booth, eating cherry pie, and talking about what just happened.

TRUMAN: This is all pretty far-out stuff! But there's one thing in particular I've been wondering... How did you know... which one... was the real Cooper?  
ANNIE: From the way he looked at me, with love in his eyes.  
COOPER: Annie, you're my kinda gal!

They all laugh. They continue eating cherry pie.

Scene 18: The conference room at the Sheriff's station. Night. Truman is bringing Cooper up to date.

TRUMAN: A lot's been happening. Hawk tracked down Leo Johnson and brought him in for questioning. But he was rambling and incoherent. Dr Jacoby recommended placing Leo in an asylum.  
COOPER: Probably for the best.  
TRUMAN: Meanwhile, an explosion at the Bank. Four people dead, including Pete Martell and Audrey Horne.  
COOPER: Audrey and Pete! Jeez! I'm gonna miss 'em both.  
TRUMAN: Me too. These are dark times... An employee of the Bank, Dell Mibbler, was also killed. The fourth body has yet to be identified. In addition to that, two people were injured, a female banker and a security guard.  
COOPER: Man oh man! Any idea who planted the bomb?  
TRUMAN: We haven't found out yet. But we're looking into it. I think Catherine Martell is hiding something. She knows why Pete was at the Bank and who he was with, but she won't let on.  
Scene 19: Ben Horne's office at the Great Northern. Early evening. Ben and Jerry. They are discussing Ben's ecological campaign to save the pine weasel, and stop the Ghostwood Development. Ben is holding a carrot, which he uses to gesticulate every so often. His forehead is still bandaged, of course.

BEN: Audrey is dead. Jack Wheeler is away in Brazil, indefinitely. It's just you and me, Jerry, but together we can do it! Together, we can save the pine weasel!  
JERRY: skeptical The pine weasel! Ben, I am beginning to wonder if the events of the past few weeks have sent you permanently crazy!  
BEN: Crazy? I haven't gone crazy! I now see the world through new eyes, and I want to make it a better place, to save the forests, to protect the animals that live there.  
JERRY: When Doc Hayward whacked your head against the mantelpiece, did it damage your brain?  
BEN: Jerry! Please! I'm being serious. The Ghostwood Development could do unimaginable damage to the habitat of an irreplaceable species! It must be stopped! We must do everything in our power to raise public awareness! triumphantly holds a carrot aloft  
JERRY: Brother Ben... the only thing we are going to arouse is the wrath of Catherine. It's her development now, and she wants it to succeed... and she has recently lost her beloved husband.  
BEN: thinking out loud Yes, if only I could make her see things from my point of view... to put the ecology before business. to Jerry Jerry, your support means a heck of a lot to me.  
JERRY: still in two minds, but not wishing to disappoint Ben Well, I can see you need me on this one... OK, Ben, I'll do everything I can. Count me in.

Ben hugs Jerry, laughing heartily.

BEN: God bless you, Jerry!

Jerry is bemused, and still does not know what to make of Ben's recent behavior.

Scene 20: The Roadhouse. Night. Full of customers. Julee Cruise sings ballads about broken hearts. Ed and Norma are having a secret meeting. They are sitting in one of the booths.

ED: Nadine's asleep. We can talk now.  
NORMA: mixed emotions Ed... I'm not sure about this any more.  
ED: Norma, I'm gonna tell it to ya straight. When Nadine got hit on the head the other night, she... reverted back to her old personality.  
NORMA: slightly annoyed Well, I kinda noticed that, Ed.  
ED: Yeah... Nadine's in a very delicate state. Dr Jacoby sez it's best not to upset her.  
NORMA: So once again, we can't do what we want! Once again, we have to put other people first! Once again, we have to hold back to spare their feelings! Hank may be out of the picture, but Nadine's still standing in our way.  
ED: Sweetheart, I feel just as frustrated as you do... But we can still be secret lovers. Like before.  
NORMA: Is it gonna be like this forever? Are we ever gonna get what we want?  
ED: Maybe in a few months, when Nadine has readjusted... when her state of mind has improved... maybe we can let her know... gently.  
NORMA: frustrated Oh, Ed!  
ED: I'm just as sorry as you are, honey. Life keeps on puttin' obstacles in our way.

Scene 21: Shelly and Bobby sitting in a car, parked near a forest stream. Night.

BOBBY: The cops have found Leo.  
SHELLY: Where was he?  
BOBBY: Well, y'know that creepy sicko who sent you the poem?  
SHELLY: Windom Earle?  
BOBBY: Yeah. Well, this Earle guy was holding Leo captive in a cabin someplace in the woods.  
SHELLY: Jeepers creepers! But, is Leo one hundred per cent compos mentis?  
BOBBY: Well, not exactly... They're probably gonna lock him away in the nuthouse.  
SHELLY: ...which would leave us free to make beautiful music together!  
BOBBY: You said it, baby!

They kiss.

Scene 22: Truman's office at the Sheriff's Station. Night. Cooper and Truman with coffee and donuts. They are talking about recent events and BOB.

COOPER: One thing has been troubling me greatly... haunting my every waking thought... BOB.  
TRUMAN: Lord, yes! He's still out there somewhere.  
COOPER: We can't catch him or imprison him. He takes flight, like an owl.  
TRUMAN: We can't kill him or destroy him.  
COOPER: He is a spirit of great evil.  
TRUMAN: What can we do about him?  
COOPER: Seemingly, nothing. We have to be alert, wary and always on the look-out.  
TRUMAN: Waiting for him to come out.  
COOPER: Waiting for him to strike again... Harry, looks like I'll be stayin' in Twin Peaks for many years to come!

Scene 23: The woods. Night.

An owl perched in a tree. It calls out. The wind carries a strange sound, which gradually gets louder. It is the mad laughter of BOB! He has not died. He has not been destroyed. He is waiting in the forest, in the shadows under the trees! BOB's grimacing, evil face is superimposed onto the image of wind blowing through the trees.

Scene 24: A montage, showing the different residents of the town:

Leo Johnson in a strait-jacket locked in a room at a psychiatric hospital.  
Bobby and Shelly in the car together, smiling and laughing.  
Nadine Hurley opening and closing her drapes, while Ed looks on, bewildered.  
Norma Jennings alone at the Diner R Diner, feeling blue.  
Ben and Jerry talking and gesticulating in front of a photograph of the pine weasel.  
Truman, Cooper and Annie at the Sheriff's Station, eating donuts.  
Catherine Martell alone in her study, planning the Ghostwood Development.  
Major Briggs and Betty Briggs together in their living room.  
Donna at home with Dr and Mrs Hayward.  
James Hurley riding his motorcycle along a distant, lonesome highway at night.

THE END 


End file.
